Dracula Review – Besson’s Passionate Reimagining of the Gothic Classic is Outlandish but Engaging
It’s possible interest is limited for an updated adaptation of Dracula from Luc Besson, the filmmaker known for stylish excess. Still, it has to be said: his richly designed romantic vampire tale displays creativity and style – and amid its theatrical camp, I’m not sure I wouldn’t prefer compared with Robert Eggers’s recent, solemnly classy version of Nosferatu. A few strange elements appear, like a particular moment that seems to depict a land border between France and Romania.
Christoph Waltz as a Humorously Exhausted Vampire-Hunting Priest
Christoph Waltz plays a clever but beleaguered cleric fighting vampires – it feels natural for him to tackle such a part earlier – who ends up in Paris in 1889 during the centennial of the French Revolution. Likewise present is the evil Count Dracula, brought to life by the seasoned horror actor Caleb Landry Jones using a distorted Eastern European tone reminiscent of Steve Carell’s Gru in the Despicable Me films. This is a part suits him perfectly.
The Narrative: A Saga of Heartbreak
The plot unfolds as follows: the count has wandered endlessly the globe in torment for 400 years since he became undead, a punishment for his faithless sorrow following the loss of his wife, Elisabeta (an inaugural screen appearance for Zoë Bleu, Rosanna Arquette’s child). Dracula has been searching, searching, searching for a lady who would be the reincarnation of his deceased partner. As ill fortune would have it, the lucky lady proves to be Mina (again played by Bleu), the reserved future wife of Dracula’s wimpish land agent, Jonathan Harker (played by Ewens Abid), who lately visited to the vampire’s estate to discuss his land assets and the small picture of the charming Mina drew the vampire’s attention.
Besson’s Handling and Humorous Style
Besson organizes Dracula’s middle-section history of worldwide travels wearing flamboyant outfits with a sure hand, and he doesn’t shy away from providing humorous scenes in the style of Mel Brooks – like Dracula’s ongoing failed efforts to commit suicide post-Elisabeta’s demise, as well as absurd moments that occur when Dracula applies to himself using a particular scent in historic Florence, that renders him unavoidably attractive to females. Ridiculous and watchable.
Dracula is on digital platforms beginning on the first of December and on DVD and Blu-ray from 22 December. It will be shown in Australian cinemas beginning on the fifth of February, 2026.
